DOCSLIB.ORG

The Sources of Surrealism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Sources of Surrealism Introduction: Crossing the Bridge: In Pursuit of the Marvellous 1 A Note on the Texts 77 Chronology 80 Selected Bibliographies 85 Acknowledgments 108 1.Precursors 1. HORACE WALPOLE, from The Castle of Otranto, 1764 119 2. ANN RADCLIFFE, from The. Mysteries of Udolpho, 1794 122 3. MATTHEW LEWIS, from The Monk, 1796 126 4. CHARLES MATURIN, from Melmoth the Wanderer, 1820 129 5. COMTE DE LAUTREAMONT, from Les chants de Maldoror, 1869 132 6. ISIDORE DUCASSE, from Poesies, 1870 135 7. ARTHUR RIMBAUD, 'Deliriums', A Season in Hell, 1873 137 8. J.-K. HUYSMANS, from A Reborns, 1884 139 9. ALFRED JARRY, from Ubu Roi, 1896 142 10. ALFRED JARRY, from Ubu Cocu, 1896 146 11. ALFRED JARRY, from The Supermale, 1902 148 2. Contemporary Influences: The Culture of Modernity 12. RAYMOND ROUSSEL, from Impressions of Africa, 1910 155 13. MARCEL ALLAIN and PIERRE SOUVESTRE, from Fantdmas, 1911 158 14. GIORGIO DE CHIRICO, from Manuscript from the Collection of Jean Paulhan, 1911-15 161 15. GUILLAUMEAPOLLINAIRE, from'Zone', 1913 165 16. GUILLAUME APOLLINAIRE, from 'Aesthetic Meditations', The Cubist Painters, 1913 168 17. RAYMOND ROUSSEL, from Locus Solus, 1914 170 18. SIGMUND FREUD, from 'Symbolism in Dreams', Introductory Lectures cm Psychoanalysis, 1916 174 19. GUILLAUME APOLIJNAIRE, 'Ocean of Earth' and 'It's Raining', Calligrammes, 1918 179 20. PIERRE REVERDY, 'L'Image', Nord-Sud, March 1918 181 21. GIORGIO DE CHIRICO, 'Zeuxis the Explorer', Valon Plastia, November, 1918 183 22. GIORGIO DE CHIRICO, from 'On Metaphysical Art', Valon Piostici, April-May 1919 185 23. GIORGIO DE CHIRICO, 'Statues, Furniture and Generals', n.d. 188 24. HANS PRINZHORN, from Artistry of the Mentally III, 1922 191 3. Enter the Mediumsi Dada and Le Mouvement flou, 1914-23 25. ARTHUR CRAVAN, 'Exhibition of Independents', Maintenant, 1914 197 26. MAN RAY, 'Statement', The Forum Exhibition of Modern American Painters, 1916 200 27. GABRIELLE BUFFET-PICABIA, 'Some Memories of Pre-Dada: Picabia and Duchamp1, 1949 201 28. ANDRE BRETON, 'Subject', Nord-Sud, April 1918, 204 29. TRISTAN TZARA, 'Dada Manifesto', Dada 3, 1918 206 30. TRISTAN TZARA, 'Flake House', Litterature, April 1919 210 31. JACQUES VACHE, from War Letters, 1919 212 32. ANDRE BRETON, 'Le Corset mystere', Litterature, June 1919 215 33. ANDRE BRETON, 'Giorgio de Chirico', Litterature, January 1920 217 34. ANDRE BRETON and PHILIPPE SOUPAULT, from Us Champs magnetiques, 1920 219 35. FRANCIS PICABIA, 'May Day', Litterature, June 1920 222 36. ALBERT GLEIZES, 'The Dada Case', Action, April 1920 225 37. JACQUES RIGAUT, 'I Shall Be Serious . .', Litterature, December 1920 230 38. TRISTAN TZARA, from 'Dada Manifesto on Feeble Love and Bitter Love', La Vie des Uttres, 1921 234 39. ANDRE BRETON, from Max Ernst (Exhibition Catalogue), 3 May-.3 June, 1921 236 40. ANDRE BRETON, 'Interview with Dr Freud', Litterature, March 1922 238 41. ANDRE BRETON, 'The New Spirit', Litterature, March 1922 240 42. ANDRE BRETON, from 'Leave Everything', Litterature, April 1922 242 43. ANDRE BRETON, from 'Marcel Duchamp', Litterature, October 1922 244 44. MARCEL DUCHAMP, Sayings of Rrose Selavy, Litterature, VI 247 45. ANDRE BRETON, from 'The Mediums Enter', Litte'rature, November 1922 249 46. FRANCIS PICABIA, 'Just to See', Literature, November 1922 253 47. PAUL. ELUARD, 'Max Ernst' and 'Unique', Repetitions, 1922 255 48. PAUL. ELUARD and MAX ERNST, 'The Scissors and their Father', Les Malheurs des immortels reve'le's par Paul Eluard et Max Emst, 1.922 258 49. PAl JL ELI JARD and MAX ERNST, 'And Following Your Example: The Young Women's Series', Litte'rature, December 1922 259 50. ROGER VITRAC, from 'Giorgio de Chirico', Litte'rature, March 1922 261 51. GIORGIO DE CHIRICO, from a letter in response to Vitrac, Litte'rature, March 1922 263 52. TRISTAN TZARA,'Inside-Out Photography: Man Ray', 1922 265 5.3. LOUIS ARAGON, from The Adventures ofTelemachus, 1922 267 54. ANDRE BRETON, Preface in Catalogue for Picabia Watercolours Exhibition, Barcelona, November-December 1922 269 55. BENJAMIN PERET, from Death to the Pigs and the Field of Battle, 1922-23 272 56. ANDRE BRETON, from 'The Disdainful Confession', La Vie moderne, February-March 1923 277 57. ROGER VITRAC, 'Poison: Drama without Words', Litte'rature, January 1923 281 58. FRANCIS PICABIA, 'Thank You Francis!', Litte'rature, January 1923 284 59. BENJAMIN PERET, 'The Flower of Napoleon', Litte'rature, January 1923 287 60. MAX ERNST, 'Etna', Litte'rature, October 1923 290 61. ANONYMOUS, 'ErutarettiP, Litterature, October 1923 292 4. The Revolution in Everyday Life: Early Surrealism, 1924-29 62. ANDRE BRETON, from Manifesto of Surrealism, 1924 297 63. ANDRE BRETON, from Soluble Fish, 1924 304 64. LOUIS ARAGON, from A Wave of Dreams, 1924 306 6.5. LOUIS ARAGON, 'Asphyxia', Le Libertinage, 1924 308 66. JOAN MIRO, Letter to Michel Leiris, 10 August 1924 311 67. PHILIPPE SOUPAULT, PAUL ELUARD and ANDRE BRETON from A Corpse, 1924 313 68. SIMONE KAHN, 'Surrealist Text: This Took Place in Springtime . .', La Revolution surrealiste, December 1924 317 69. J.-A. BOIFFARD, PAUL ELUARD and ROGER VITRAC, Vll Preface, La Revolution surrealist?, December 1924 ?19 70. GIORGIO DE CHIRICO, 'Dreams', La Revolution surrealiste, December, 1924 ^22 71. MAX MORISE, 'Enchanted Eyes', La Resolution surrealiste, December 1924 324 72. PIERRE NAVILLE, 'Beaux-Arts', La Revolution surrealiste, April 1925 328 73. COLLECTIVE STATEMENT, 'Open the Prisons. Disband the Army', La Revolution surrealiste, January 1925 330 74. ROBERT DESNOS, 'Death. The Oaken Rampart', 1925 332 75. PAUL ELUARD, 'Dreams', La Revolution surrealiste, April 1925 334 76. ANTONIN ARTAUD, 'Letter to the Chancellors of the European Universities', La Revolution surrealiste, April 1925 336 77. ANTONIN ARTAUD, Address to the Dalai Lama', La Revolution surrealiste, 18 April 1925 338 78. COLLECTIVE STATEMENT, 'Letter to the Chief Doctors of Lunatic Asylums', La Revolution surrealiste, April 1925 339 79. MICHEL LEIRIS, from 'Glossaire: J'y serre mes gloses', La Revolution surrealiste, April and July 1925 341 80. JACQUES RIGAUT, 'General Suicide Agency', 1925 342 81. PAUL ELUARD, Andre Masson', La Revolution surrealiste, July 1925 344 82. ANDRE BRETON, from 'A Letter to Seers', La Revolution surrealiste, October 1925 345 83. COLLECTIVE STATEMENT, 'Open Letter to M. Paul Claudel', 1st July 1925 348 84. SIMONE KAHN, 'The Exquisite Corpse', 1975 350 85. ROBERT DESNOS and BENJAMIN PERET, 'The Child Planet', 1926 352 86. LOUIS ARAGON, 'The Passage de l'Opera', Revue Europeenne, June-Sept. 1924 354 87. LOUIS ARAGON, 'Enter the Succubi', La Revolution surrealiste, March 1926 358 88. ANTONIN ARTAUD, 'Letter to the Clairvoyant', La Revolution surrealiste, December 1926 360 89. CLAUDE CAHUN, 'Captive Balloon', La Ligne de coeur, March 1926 363 90. RENE CREVEL, 'Mr Knife, Miss Fork', Babylone, 1927 365 91. SALVADOR DAIJ, from 'Saint Sebastian', L'Anuc de les Arts, July 1927 ' 367 92. SALVADOR DALI, 'Photography: Pure Creation of the Mind', L'Amic de les Arts, September 1927 371 93. ROBERT DESNOS, 'Diary of an Apparition', La Revolution surrealiste, October 1927 375 via 94. MAX ERNST, 'Visions of Half-Sleep', La Revolution surrealists, October 1927 378 95. LOUIS ARAOON, from Treatise on Style, 1928 380 96. ANDRE BRETON, from Nadja, 1928 383 97. SALVADOR DALI, 'Poetry of Standardized Utility', L'Arruc de les Arts, March 1928 387 98. SALVADOR DALI, 'Joan MircV, 1928 390 99. LOUIS ARAGON and ANDRE BRETON, 'The Quinquagenary of I Iysteria (1878-1928)', La Revolution surrealiste, March 1928 392 100. SURREALIST GROUP, 'Research into Sexuality: Second Session', La Revolution surrealiste, March 1928, 394 101. ANDRE BRETON, from Surrealism and Painting, 1928 398 102. GIORGIO DE CHIRICO, from Hebdomeros, 1929 403 103. SUZANNE MUZARD, 'On Love: Reply to an Inquiry', La Revolution surrealiste, December 1929 407 104. RENE MAGRITTE, 'Les mots ct les images', La Revolution sur- realiste, December 1929 409 105. JACQUES RIGALJT, 'Lord Patchogue', La Nouvelle Revue Francaise 1929 412 106. ANDRE BRETON, Second Manifesto of Surrealism, La Revolution surrealiste, December 1929, revised and amended 1930 415 5. The Surrealist Internationals In the Service of the Revolution, 1930-39 107. SURREALIST GROUP, 'Question and Answer', Le Surrealisme au service de la revolution, July 1930 423 108. SALVADOR DALI, 'The Moral Position of Surrealism', Helix, April 1930 424 109. SALVADOR DALI, 'The Rotting Donkey', Le Surrealisme au service de la revolution, July 1930 428 110. SALVADOR DALI, 'Arrest of an Exhibitionist on the Metro', Le Surrealisme au service de la revolution, October 1930 432 111. BENJAMIN PERET, 'Life of Foch the Murderer', Le Surrealisme au service de la revolution, October 1930, 433 112. ANDRE BRETON and PAUL ELUARD, from The Immaculate Conception, 1930 435 113. LOUIS ARAGON, from Challenge to Painting, 1930 440 114. MAX ERNST, 'Academy of Science', A Little Girl Dreams of Taking the Veil, 1930 445 115. JOAN MIRO and FRANCISCO MELGAR, 'Spanish Artists in Paris' [Interview with Joan Miro by Francisco Melgar], Ahora, Madrid, January 1931 449 116. ANDRE BRETON, 'Free Union', June 1931 451 IX 117. LOUIS ARAGON, from 'Red Front', literature of the World Revolution, April 1931 453 118. YVES TAN GUY, 'Weights and Colours', Lt Surrealisms au service de la revolution, December 193.1 456 119. ALBERTO GIAGOMETTI, 'Moving and Mute Objects', Le Surrealisme au service de la revolution, December 1931 459 120. SALVADOR DALI, 'Surrealist Objects', Lt Surrealisme au service de la revolution, December 1931
Load more

Recommended publications
  • Correlations Between Creativity In
    1 ARTISTIC SCIENTISTS AND SCIENTIFIC ARTISTS: THE LINK BETWEEN POLYMATHY AND CREATIVITY ROBERT AND MICHELE ROOT-BERNSTEIN, 517-336-8444; [email protected] [Near final draft for Root-Bernstein, Robert and Root-Bernstein, Michele. (2004). “Artistic Scientists and Scientific Artists: The Link Between Polymathy and Creativity,” in Robert Sternberg, Elena Grigorenko and Jerome Singer, (Eds.). Creativity: From Potential to Realization (Washington D.C.: American Psychological Association, 2004), pp. 127-151.] The literature comparing artistic and scientific creativity is sparse, perhaps because it is assumed that the arts and sciences are so different as to attract different types of minds who work in very different ways. As C. P. Snow wrote in his famous essay, The Two Cultures, artists and intellectuals stand at one pole and scientists at the other: “Between the two a gulf of mutual incomprehension -- sometimes ... hostility and dislike, but most of all lack of understanding... Their attitudes are so different that, even on the level of emotion, they can't find much common ground." (Snow, 1964, 4) Our purpose here is to argue that Snow's oft-repeated opinion has little substantive basis. Without denying that the products of the arts and sciences are different in both aspect and purpose, we nonetheless find that the processes used by artists and scientists to forge innovations are extremely similar. In fact, an unexpected proportion of scientists are amateur and sometimes even professional artists, and vice versa. Contrary to Snow’s two-cultures thesis, the arts and sciences are part of one, common creative culture largely composed of polymathic individuals.
    [Show full text]
  • THE NAKED APE By
    THE NAKED APE by Desmond Morris A Bantam Book / published by arrangement with Jonathan Cape Ltd. PRINTING HISTORY Jonathan Cape edition published October 1967 Serialized in THE SUNDAY MIRROR October 1967 Literary Guild edition published April 1969 Transrvorld Publishers edition published May 1969 Bantam edition published January 1969 2nd printing ...... January 1969 3rd printing ...... January 1969 4th printing ...... February 1969 5th printing ...... June1969 6th printing ...... August 1969 7th printing ...... October 1969 8th printing ...... October 1970 All rights reserved. Copyright (C 1967 by Desmond Morris. This book may not be reproduced in whole or in part, by mitneograph or any other means, without permission. For information address: Jonathan Cape Ltd., 30 Bedford Square, London Idi.C.1, England. Bantam Books are published in Canada by Bantam Books of Canada Ltd., registered user of the trademarks con silting of the word Bantam and the portrayal of a bantam. PRINTED IN CANADA Bantam Books of Canada Ltd. 888 DuPont Street, Toronto .9, Ontario CONTENTS INTRODUCTION, 9 ORIGINS, 13 SEX, 45 REARING, 91 EXPLORATION, 113 FIGHTING, 128 FEEDING, 164 COMFORT, 174 ANIMALS, 189 APPENDIX: LITERATURE, 212 BIBLIOGRAPHY, 215 ACKNOWLEDGMENTS This book is intended for a general audience and authorities have therefore not been quoted in the text. To do so would have broken the flow of words and is a practice suitable only for a more technical work. But many brilliantly original papers and books have been referred to during the assembly of this volume and it would be wrong to present it without acknowledging their valuable assistance. At the end of the book I have included a chapter-by-chapter appendix relating the topics discussed to the major authorities concerned.
    [Show full text]
  • Acción Surrealista Y Medios De Intervención. El Surrealismo En Las Revistas, 1930 – 1939
    Acción surrealista y medios de intervención. El surrealismo en las revistas, 1930 – 1939 Javier MAÑERO RODICIO CES Felipe II, Universidad Complutense de Madrid [email protected] Entregado: 19/9/2012 Aceptado: 4/7/2013 RESUMEN Sobre la base de un estudio previo, El surrealismo en las revistas 1919 – 1929, pero de forma autónoma, se aborda a continuación la segunda década surrealista, revisitada siempre al hilo de las revistas que aglutinaron al movimiento. Tras analizar desde Un cadavre la dimensión de la crisis del grupo hacia el cambio de década, asistimos a la adaptación del surrealismo a las extremas condiciones políticas de los años 30 con su revista El surrealismo al servicio de la Revolución. Pero también, y al mismo tiempo, al momento de su máxima difusión y aceptación, particularmente a través del arte. La revista Minotaure será la principal manifestación de este proceso, aunque también son tenidas aquí en cuenta otras cabe- ceras. Palabras clave: Surrealismo, Revistas de arte, A. Breton, G. Bataille, Le surréalisme au service de la Révolution, Documents 34, Minotaure, Cahiers d’Art. Surreal action and means of intervention. Surrealism in the magazines, from 1930 to 1939 ABSTRACT Following on from the previous study, Surrealism in Magazines 1919 – 1929, the second Surrealist decade is now focussed on – at all times with regard to the magazines that united together around the movement. After analysing in Un cadavre the effects of the crisis of 1929, we witness Surrealism’s adap- tation to the extreme political panorama of the 1930’s with the magazine Surrealism in the service of the revolution.
    [Show full text]
  • André Breton Och Surrealismens Grundprinciper (1977)
    Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8...............................................................................................................................................
    [Show full text]
  • Louis Aragon Was One of France's Most Prolific, Prominent, and Contro
    Jennifer Stafford Brown "AU FEU DE CE QUI FUT BRULE CE QUI SERA": LOUIS ARAGON AND THE SUBVERSIVE MEDIEVAL ouis Aragon was one of France's most prolific, prominent, and contro­ Lversial modern poets, causing strong reactions even among those he supported. As a novelist, a poet, an art critic, a member of the surrealist move­ ment and the French Resistance, and an active member of the PCF, he was throughout his long life a major figure of the French cultural landscape. From his well-known surrealist poetry to his cycle of socialist realist novels to the difficult postmodern works he wrote late in his life, his wildly diverse body of writing leaves no shortage of work for biographers and scholars. Aragon never accepted the status quo. As a surrealist, and later as an ardent Communist, he pushed the boundaries of metaphor, image, and style while passionately advocating literary and social change. During the turbulent years that led up to World War II, however, as well as during the war itself, the nature of his work changed subtly. Aragon, faced with national crisis, turned to the creation of a national myth. For him, as for many other authors, this new sense of nationalism had its roots in the Middle Ages. His contemporaries, as well as his later critics, were bewildered and intrigued by the unexpected source for this myth, going as it did against so many of his social and authorial sensibili­ ties: "Le projet d'Aragon est ala fois ideologique et poetique. II recherche les moyens d'une expression nationale, ou pour mieux dire franr;aise, a la fois populaire et savante ..
    [Show full text]
  • 1 Dalí Museum, Saint Petersburg, Florida
    Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour Form Education Department, 2015 TITLE: “Salvador Dalí: Elementary School Dalí Museum Collection, Paintings ” SUBJECT AREA: (VISUAL ART, LANGUAGE ARTS, SCIENCE, MATHEMATICS, SOCIAL STUDIES) Visual Art (Next Generation Sunshine State Standards listed at the end of this document) GRADE LEVEL(S): Grades: K-5 DURATION: (NUMBER OF SESSIONS, LENGTH OF SESSION) One session (30 to 45 minutes) Resources: (Books, Links, Films and Information) Books: • The Dalí Museum Collection: Oil Paintings, Objects and Works on Paper. • The Dalí Museum: Museum Guide. • The Dalí Museum: Building + Gardens Guide. • Ades, dawn, Dalí (World of Art), London, Thames and Hudson, 1995. • Dalí’s Optical Illusions, New Heaven and London, Wadsworth Atheneum Museum of Art in association with Yale University Press, 2000. • Dalí, Philadelphia Museum of Art, Rizzoli, 2005. • Anderson, Robert, Salvador Dalí, (Artists in Their Time), New York, Franklin Watts, Inc. Scholastic, (Ages 9-12). • Cook, Theodore Andrea, The Curves of Life, New York, Dover Publications, 1979. • D’Agnese, Joseph, Blockhead, the Life of Fibonacci, New York, henry Holt and Company, 2010. • Dalí, Salvador, The Secret life of Salvador Dalí, New York, Dover publications, 1993. 1 • Diary of a Genius, New York, Creation Publishing Group, 1998. • Fifty Secrets of Magic Craftsmanship, New York, Dover Publications, 1992. • Dalí, Salvador , and Phillipe Halsman, Dalí’s Moustache, New York, Flammarion, 1994. • Elsohn Ross, Michael, Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities, Chicago review Press, 2003 (Ages 9-12) • Ghyka, Matila, The Geometry of Art and Life, New York, Dover Publications, 1977. • Gibson, Ian, The Shameful Life of Salvador Dalí, New York, W.W.
    [Show full text]
  • Literatura Y Ciencia En La Composición Minimalista: Hacia Una Teoría Del Azar Controlado Marta Cureses
    Literatura y ciencia en la composición minimalista: Hacia una teoría del azar controlado Marta Cureses ACTIO NOVA: REVISTA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA, 3 (2019): 407-438 DOI: https://doi.org/10.15366/actionova2019.3.018 LITERATURA Y CIENCIA EN LA COMPOSICIÓN MINIMALISTA: HACIA UNA TEORÍA DEL AZAR CONTROLADO LITERATURE AND SCIENCE IN MINIMALIST COMPOSITION: LOOKING FOR A THEORY OF CONTROLLED CHANCE. Marta Cureses Universidad de Oviedo ABSTRACT Literature and science are both the fundamental pillars on which we try here to define a theory of controlled chance through musical minimalism and random composition. Literature —prose and poetry— and science mathematics and music are joined by another discipline taking part of the process: architecture, not in a generalist consideration, but from the very concrete approach proposed by Peter Eisenman’s theory of architecture as a text. Key words: literature theory, combinatorics, random music, minimalism, architecture. RESUMEN Literatura y ciencia son los dos pilares fundamentales sobre los que se trata aquí de definir una teoría del azar controlado en la composición minimalista y de signo aleatorio. Junto a la literatura —prosa y poesía— y ciencia matemáticas y música surge otra disciplina que ACTIO NOVA: REVISTA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA. ISSN 2530-4437 https://revistas.uam.es/actionova 407 Literatura y ciencia en la composición minimalista: Hacia una teoría del azar controlado Marta Cureses ACTIO NOVA: REVISTA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA, 3 (2019): 407-438 DOI: https://doi.org/10.15366/actionova2019.3.018 forma parte del proceso: la arquitectura; no en una definición generalista, sino desde el planteamiento concreto que propone Peter Eisenman en su teoría de la arquitectura como texto.
    [Show full text]
  • Of the Omnipotent Mind, Or Surrealism
    UvA-DARE (Digital Academic Repository) The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism Bauduin, T.M. Publication date 2012 Link to publication Citation for published version (APA): Bauduin, T. M. (2012). The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism. Elck Syn Waerom Publishing. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 four Introduction: The unfortunate onset of the 1930s By the end of the 1920s, life was FO turning sour for Breton. Financially, he was floundering. Amorously, he found himself in dire straits: his marriage with Simone Kahn was over, a love affair UR with Lise Meyer had ended badly, his involvement with Nadja had been tragic and the affair with Suzanne Muzard— introduced as ‘X’ at the end of Nadja— The ‘Golden was not going well.
    [Show full text]
  • The Dismembered Body in Antonin Artaud's Surrealist Plays
    CHAPTER TWO THE DISMEMBERED BODY IN ANTONIN ARTAUD’S SURREALIST PLAYS THOMAS CROMBEZ In two of his surrealist plays, Antonin Artaud inserted a scene where human limbs rain down on the stage. The beginning of Le Jet de sang (The Spurt of Blood, 1925) features a young couple pathetically declaring their love for one another, when suddenly a hurricane bursts, two stars collide, and “a series of legs of living flesh fall down, together with feet, hands, heads of hair, masks, colonnades, portals, temples, and distilling flasks”1 (Artaud 1976a, 71). In a later scenario prepared for the Theatre of Cruelty project, La Conquête du Mexique (The Conquest of Mexico, 1933), the volley of human limbs is echoed almost verbatim. Human limbs, cuirasses, heads, and bellies fall down from all levels of the stage set, like a hailstorm that bombards the earth with supernatural explosions.2 (Artaud 1979, 23) These literal and, according to the theatrical conventions of the day, almost unstageable instances of “dismemberment in drama” point to a distinctive characteristic of Artaud’s work. He seemed to strive for a purely mental drama, to be staged for the enjoyment of the mind’s eye. The distinctly appropriative method he employed to write his mental play- texts may be labeled, borrowing an expression from Alfred Jarry studies, as “the systematically wrong style” (Jarry 1972, 1158). This expression has already proven its worth as the most concise term for Jarry’s linguistically grotesque plays, composed of Shakespearean drama, vulgar talk, heraldic language, archaisms, and corny schoolboy humor. The first part of my essay considers why the standard poststructuralist interpretation of Artaud’s œuvre is unable to provide a strictly literal reading of the human body parts that litter the stage.
    [Show full text]
  • Érika Pinto De Azevedo
    ÉRIKA PINTO DE AZEVEDO UNE ÉTUDE ET UNE TRADUCTION DE L’HOMME AU COMPLET GRIS CLAIR , NOUVELLE DE MARCEL LECOMTE, ÉCRIVAIN SURRÉALISTE BELGE FRANCOPHONE PORTO ALEGRE ABRIL 2007 1 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ÁREA DE ESTUDOS DE LITERATURA ÊNFASE: LEM - LITERATURAS FRANCESA E FRANCÓFONAS Linha de Pesquisa: Teorias Literárias e Interdisciplinaridade UNE ÉTUDE ET UNE TRADUCTION DE L’HOMME AU COMPLET GRIS CLAIR , NOUVELLE DE MARCEL LECOMTE, ÉCRIVAIN SURRÉALISTE BELGE FRANCOPHONE Érika Pinto de Azevedo Dissertação apresentada ao Programa de Pós-Graduação em Letras da UFRGS como requisito parcial para obtenção do grau de Mestre em Letras, área de Estudos de Literatura, ênfase de LEM - Literaturas Francesa e Francófonas Orientador: Prof. Dr. Robert Ponge Porto Alegre, UFRGS 2007 2 TABLE DES MATIÈRES INTRODUCTION CHAPITRE 1 NAISSANCE ET DÉVELOPPEMENT DU SURRÉALISME AUTOUR D’ANDRÉ BRETON JUSQU’EN 1931 ANDRÉ BRETON DE 1896 À 1913 10 LA « DÉCOUVERTE DE LA RÉSISTANCE ABSOLUE » (1913-1918) 11 DE LA FONDATION DE LITTÉRATURE AU LANCEMENT DU 13 SURRÉALISME (1919-1924) DU MANIFESTE (1924) AU SECOND MANIFESTE DU SURRÉALISME (1929- 21 1930) ET UN PEU APRÈS CHAPITRE 2 QUELQUES ÉLÉMENTS D’HISTOIRE DU DADAÏSME ET DU SURRÉALISME EN BELGIQUE JUSQU’EN 1931 CLÉMENT PANSAËRS ET LE DADAÏSME 28 QUELQUES REVUES NOVATRICES OU MODERNISTES 30 RENCONTRES INITIALES DES FUTURS SURRÉALISTES (1919-1924) 31 CORRESPONDANCE , ŒSOPHAGE ET MARIE (1924-1926) 32 FORMATION ET PREMIÈRES ACTIVITÉS DU GROUPE SURRÉALISTE
    [Show full text]
  • Networking Surrealism in the USA. Agents, Artists and the Market
    151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh.
    [Show full text]
  • Surrealism-Revolution Against Whiteness
    summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ......................
    [Show full text]